Thank Boaz for your clear explanation, I did build my own Flamenco but the neck angle was off resulting in a high bridge. I corrected it with your third mentioned method (no other method possible anymore) by taking out the fret wire and reshape the fingerboard in the correct angle and the bridge hight is now 9 mm! great! Thank you again. Will use your mold tip on my next one!
hi. i want to ask a question. i want to make a flamenco guitar, i am buying some materials and i will be done soon. i didnt understand the angle feature perfectly. because when you lower the headstock side, the strings will give you a buzzy sound when you try to lower the bridge. but when you raise the headstock part, the strings will go up so it means you can lower the action at the bridge side. can you explain it clearly please?
I understand from another RU-vid video for a classical guitar the "tabla" just where the neck sits (when assembling the guitar face down) slopes down by 3mm. Hence when the guitar is on its back the neck slopes up by 3mm.
I'm not understanding how the neck can be anything other than flat with the upper bout since the fingerboard is. I have always thought the slight decline in the lower bout, below the sound hole, exists to allow the strings to be tightened without causing the fretboard to bow up over time. Otherwise, why not adjust this all with the nut and saddle? (I am a novice & asking this seriously.)
Over the years the saddle of my José Bellido 1980 Flamenco has had several sandings to maintain low action. But this can only be done so many times. So today I shawed 1,5 mm of the bridge and will stem out the trench for the saddle to go lower yet another 1 mm. Why this is nessesary I never understood? I´ve been told this critical aging problem i common with flamenco-guitars. So if only builders would give a little more room for ajustment. Almost wish I had bought a regular - almost - bridge-sanding has become part of the flamenco experience:)
I am an amateur in this field but i think Getting the action lower by shaving the bridge increases tention on the neck further. Last resort seems to me the third option given. to shave the fingerboard and refret.
I loved the instruction in this video! Todah rabah. A follow-up question: Does the underside of the portion of the fretboard which rests on the soundboard (frets 12-19) need to be shaped into a wedge to compensate for the neck angle, in order to maintain uniform contact with the soundboard?
What is see here there is a negative neck angle built in the assembly board. I can't immagine how that would work out to geht the height of the bridge at 7 or 8mm. From what i know most flamenco guitars have a positive neck angle.
I have always seen and made soleras with a positive neck angle. Every luthier I have made a solera or work board for, they choose a positive neck angle.
@@circaSG07 so.... whats positive and whats negative... the neck leans backwords a few degrees. When strings are on tension it pulls the bridge slightly up. And the neck tilts forwards. This is not so much a problem for classical with 3 to 4 mm action. And as he states it is hard to get right. You need to put strings on and hope you got it exectly right.
Hi I am building my second flamenco guitar, made a tabla with an angle for the neck. Off course the neck is straight. To make the flat fit with the soundboard, should I shave the same angle in the wood block of the neck were I glue the soundboard on.? And how to correct this angle for the fretboard before gluing on the other side of the soundboard.
I understood the question on the construction between the neck and the peghead. Not the angle of the neck to body.....At my guitars that i build it is about 17°.
When using the board you can create any height for the bridge! All you need to do is put a spacer where the bridge is located! If the space will be 10 mm! Then your bridge height would be 10 mm It’s that simple! You got confused because I say 100 mm! Instead i should say 0.100 Which is 10 mm ( it is also 1 cm) Boaz
He doesn't know the actual angle, because its a Spanish heal, not a dovetail where you have to cut the angle in. He could measure the angel on his solera, to know the exact degrees for both styles. As he said, he guessed at what the angle would be on his first builds and adjusted the wedges he placed on his solera with neck extension to get the measurement he wanted in front of the bridge. It would be very nice if he could actually measure the angle on the solera. Not every classical guitar has a Spanish heal. Your question should have been more specific about the Actual angle, it exist in his Solera.
Let me get this straight: "if the bridge is low, you lower it, if the bridge is high you higher it". Personally I suspect this is backwards and I'm leaving this comment for my own future reference. Maybe the plywood neck portion of his solera is warped so it has to be compensated.
He's nuts. The neck angle is the same on both types, the lower string height/action that's required by the flamenco style is simply achieved with a thinner bridge, not by angling the neck back....
Watch more guitar builds. Yes the bridge is actually lower very true. Neck angle is not the same. 2 or 3 defrees difference is hard to spot. With strings on you wont notice at all.
